post modem .. just past the library
Artforum is a magazine that I read for the ads. It was a west coast percolator. It went east, where publishers and advertisers were. So it goes.
I pick it up irregularly, but next month is their Vogue issue, big thick and full of glittery ads– what-who-how much.
but it is fun, and a catalog of names. I flip through for the ones I don’t know.
after artforum
I’m trying to get through my film stash. Empty the freezer.
This means keeping the cameras loaded and nearby. Taking them for the walk. Using the digital as backup — Along for the ride, but in the bag.
I’m getting down, and don’t plan on keeping a freezer of film again. This means that all the yellow boxes are leaving the house — out with the recycling. I’ve tested Ilford and other films — they’re up to my needs. The last reason for Old Yellow was for color, but not really much need, my pallete can be managed by one of the 4 sensor types I have available.
Old Yellow no longer has a Spot
Lustrum Press published many of the most influential books during the Silver Age of photography.
Two of them were based upon the darkroom practices of some of the established photographers — those first period producers. Ralph Gibson published 2 such volumes. Each edited by a different person.
Darkroom & Darkroom 2
INTRODUCTION ELEANOR LEWIS
WYNN BULLOCK PHOTOGRAPH AS SYMBOL
JERRY BURCHARD NIGHT PHOTOGRAPHY
LARRY CLARK MIXING YOUR OWN CHEMICALS
LINDA CONNOR PRINTING-OUT PAPER
RALPH GIBSON HIGH CONTRAST PRINTING
BETTY HAHN GUM PRINTING
EIKOH HOSOE SHADOW DETAIL
GEORGE KRAUSE INTENSIFICATION
ELAINE MAYES LONG TONAL RANGE
DUANE MICHALS CAMERA AS DARKROOM
W. EUGENE SMITH FORTY YEARS OF EXPERIENCE
GEORGE TICE PLATINUM PRINTING
JERRY UELSMANN MULTIPLE PRINTING
This book’s chapter titles are the name of the photographer. Each person gets an extended time to explain their work. In the Web Age, this would be called BTS – behind the scene.
JUDY DATER – My work is rooted in 19th-century portraiture. I like very formal pictures. I began with self-portraits, but they were unsatisfactory because I could not see what I was doing. So I started to use other women as stand-ins.
FRANK GOHLKE – My attitude toward the world is shaped by my response to its abundance, richness and generosity. In some ways, I have a similar response to the materials used in photography.
EMMET GOWIN – Let me just talk to you from my feelings, first about my beginnings, then about technique. (provides specifics of his contour printing control – mask)
CHARLES HARBUTT – I work in sort of an off-the-wall manner. I shoot by whim; I don’t really go out with specific ideas. After I develop the negatives, I decide if I like a picture, and if I want to print it.
LISETTE MODEL
HANS NAMUTH
DOUG PRINCE
AARON SISKIND
NEAL SLAVIN
COLE WESTON
EDITED BYJAIN KELLY
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